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Vase sphérique à décor de coqs et poules, Chine, règne de Qianlong (1736-1795)

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Vase sphérique à décor de coqs et poules, Chine, règne de Qianlong (1736-1795), famille rose, Collection Ernest Grandidier. Paris, musée Guimet - musée national des Arts asiatiques. Photo © Musée Guimet, Paris, Dist. RMN-Grand Palais / Martine Beck-Coppola


Bol à décor de coq, Chine, règne de Qianlong (1736-1795)

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Bol à décor de coq, Chine, règne de Qianlong (1736-1795), famille rose, H: 6,1 cm - D:14,2 cm. Collection Ernest Grandidier. Paris, musée Guimet - musée national des Arts asiatiques, G399. Photo © Musée Guimet, Paris, Dist. RMN-Grand Palais / Thierry Ollivier

Décor extérieur : deux coqs parmi des rochers percés, des pivoines et des asters. Intérieur : bordure de mosaïque noire sous l'ouverture, feuille verte centrale.

Petit plat creux: coq dans un écusson, atelier sévillan ?, 1ère moitié du 16e siècle

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Petit plat creux: coq dans un écusson, atelier sévillan ?, 1ère moitié du 16e siècle, céramique hispano-mauresque, faience à lustre métallique. H: 6 cm-D: 25,5 cm. Paris, musée de Cluny - musée national du Moyen Âge, CL1685. Photo © RMN-Grand Palais (musée de Cluny - musée national du Moyen-Âge) / Jean-Luc Mabit

Plat à ombilic : coq, Manisès, 1er quart du 16e siècle

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Plat à ombilic : coq, Manisès, 1er quart du 16e siècle, céramique hispano-mauresque, faience à lustre métallique. H: 4 cm-D: 36,5 cm. Paris, musée de Cluny - musée national du Moyen Âge, CL1596b. Photo © RMN-Grand Palais (musée de Cluny - musée national du Moyen-Âge) / Jean-Luc Mabit

Aiguière à tête de coq, Iran, 13e siècle

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Aiguière à tête de coq, Iran, 13e siècle, céramique siliceuse. Paris, musée du Louvre, MAO248. Photo © RMN-Grand Palais (musée du Louvre) / Jean-Gilles Berizzi

Paire de coqs debout, 18e siècle, règne de Qianlong (1736-1795)

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Paire de coqs debout, 18e siècle, règne de Qianlong (1736-1795), porcelaine, H: 18 cm - L: 13 cm. Limoges, musée national Adrien Dubouché, ADL2045;ADL2046. Photo © RMN-Grand Palais (Limoges, Cité de la céramique) / Jean-Gilles Berizzi

Gargoulette (kendi), vers 1730-1745, règne de Qianlong (1736-1795)

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Gargoulette (kendi), vers 1730-1745, règne de Qianlong (1736-1795), porcelaine de la famille rose, H: 17 cm - D: 12,6 cm. Limoges, musée national Adrien Dubouché, ADL6177. Photo © RMN-Grand Palais (Limoges, Cité de la céramique) / Guy Gendraud

Jeunes femmes regardant un combat de coqs, 18e siècle, dynastie Qing (1644-1911)

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Jeunes femmes regardant un combat de coqs, 18e siècle, dynastie Qing (1644-1911), porcelaine de la famille rose, D: 17 cm. Ancienne collection Jacquemart - Don Adrien Dubouché, 1881, Limoges, musée national Adrien Dubouché, ADL1988. Photo © RMN-Grand Palais (Limoges, Cité de la céramique) / Tony Querrec


Doucai ‘Chicken cup‘, Ming dynasty, Chenghua mark and period, AD1465–87

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Doucai‘Chicken cup‘, Ming dynasty, Chenghua mark and period, AD1465–87. Porcelain with underglaze cobalt-blue and overglaze enamel decoration, Jingdezhen, Jiangxi province. On loan from Sir Percival David Foundation of Chinese Art, PDF,A.748© Trustees of the British Museum

Cup with long Qianlong inscription, Qing dynasty, Qianlong mark and period, dated AD 1776

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Cup with long Qianlong inscription, Qing dynasty, Qianlong mark and period, dated AD 1776. Porcelain with underglaze cobalt-blue, overglaze blue and fencai (powdered colours), Jingdezhen, Jiangxi province. On loan from Sir Percival David Foundation of Chinese Art, PDF,A.827© Trustees of the British Museum

On one side a boy is shown with a cockerel among blue rocks. There is a long inscription on the other side in black enamel with red seals, including the date of the bingshen year of the Qianlong reign (AD 1776). The inscription reads: 
李唐越器人間無,趙宋官窯辰星看
殷周鼎彜世頗多,堅脆之質於焉辨
堅樸脆巧久蹔分,立德踐行義可玩
朱明去此弗甚遙,宣成雅具时猶見
寒芒秀采縂稱珍,就中雞缸最爲冠
牡丹麗日春風和,牝雞逐隊雄鷄絢
金尾鐡距首昂藏,怒勢如聼賈昌喚
良工物態肖無遺,趨華風氣隨时變
我獨警心在齊詩,不敢耽安興以晏
乾隆丙申御题
Li Tang Yue qi renjian wu, Zhao Song Guanyao chenxing kan,
Yin Zhou ding yi shi po duo, jiancui zhi zhi yu yanbian, 
jianpu cui qiao jiu zhan fen, lide jianxing yi ke wan,
Zhu Ming qu ci fu zhen yao, Xuan Cheng yaju shi you jian,
han mang xiucai zong cheng zhen, jiu zhong jigang zui wei guan
mudan liri chunfeng he, pinji zhudui xiongji xun
jinwei tieju shou ang cang, nushi ru ting Jia Chang huan,
lianggong wu tai xiao wu yi, qu hua fengqi suishi bian,
wo du jingxin zai Qi shi, bugan dan an yu yi yan,
Qianlong bingshen yuti
Yue vessels of the Tang dynasty are no longer found,
The imperial ware of the Song dynasty is as rare as stars at dawn,
Yet ding vessels of the Shang and Zhou abound to the present day,
Bronze is stronger; vessels of clay are more fragile.
The strong survive, the fragile perish,
Hard work is valued and should be prized,
The Ming dynasty is not so far removed (from our own time),
The gems of Xuan(de) and Cheng(hua) may be seen occasionally
Their brilliance and perfect colouring are universally praised;
And among them the ‘chicken cups’ are supreme.
The peonies under a bright sun in springtime, 
The hen and chicks close together and the cockerel in his glory,
With golden tail and iron spurs, his head held high,
Standing ready for combat, as if he heard the call of Zang Ping.
The gifted artist has rendered nature in all its detail,
In a style handed down from former times, yet changing in each successive period.
But in my heart I will think only of the ancient Odes of Qi,
And hesitate to remain abed when time to rise at dawn.
Composed by the Qianlong Emperor in the cyclical year bingshen [AD 1776] 
Two seals: The first, a pictorial depiction of 'qian', one of the 8 trigrams 'bagua' in Chinese cosmology. Qian is also the name of the first of the 64 hexagrams of the 'Book of Changes'. The second seal is the character 'long'. In combination, the seals make up the reign name, 'Qianlong'.

 

Rooster's ukiyo-e

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 Imao Keinen, Rooster and Hen - Keinen Gafu, 1892.

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Takahashi Biho, Rooster and Hen, Not dated (early 20th C.).

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Kobayashi Kiyochika, Rooster and Hen, 1915.

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Hirose Biho, Rooster and Hen, Early 20th century.

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Kano Naonobu, Rooster and Bamboo. Originally in Edo era. This woodblock version was made in 1925.

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Takeuchi Keishu, Totenko- A Cock Crows, 1909.

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Katsushika Hokusai, Rooster, Hen and Chicken with Spiderwort, ca. 1830–33.

Landmark exhibition brings Ai Weiwei's vision to Meijer Gardens in Grand Rapids

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Ai Weiwei, Iron Tree. Photo by Dean Van Dis

 RAPIDS, MICH.- Frederik Meijer Gardens & Sculpture Park, one of the nation’s most significant botanic and sculpture experiences, announces a landmark exhibition featuring internationally renowned artist and activist, Ai Weiwei. “Ai Weiwei at Meijer Gardens: Natural, State” is his first show in the upper Midwest as well as the first of its kind for the artist at a botanic garden. 

Ai Weiwei has emerged as one of the defining cultural voices for the 21st century. Known to work in a wide variety of contexts and scale, his ability to transform materials to share his ideas, concerns and vision has given rise to a critically acclaimed and widely appreciated body of work. Among recent work is his colossal Iron Tree, acquired and installed in 2015 in honor of Meijer Gardens 20th anniversary, which helped to attract 776,000 visitors. 

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Ai Weiwei. Taifeng, 2015. Bamboo and silkPhoto courtesy of Ai Weiwei Studio.

“I am looking forward to the exhibition at Meijer Gardens and to share my work and ideas in this unique place,” states Ai Weiwei. “I appreciate that they are so committed to my work; they even acquired Iron Tree last year. This opportunity to bring an exhibition to Michigan is something I greatly anticipate.” 

Fred Meijer’s commitment to sculpture included bringing world class art to Meijer Gardens. Ai Weiwei will join artists such as Pablo Picasso, Henry Moore, Mark di Suvero, Jaume Plensa, Claes Oldenburg and Coosje van Bruggen, among many others who have exhibited. 

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Ai Weiwei. He Xie, 2010. PorcelainPhoto courtesy of Ai Weiwei Studio

"It is a significant honor for Frederik Meijer Gardens & Sculpture Park to be working with Ai Weiwei to develop this major exhibition. We have long been committed to his work, his vision and boundless creativity” said David Hooker, president and CEO, “this exhibition will be a major event in the Midwest." 

Having an exhibition at Meijer Gardens allowed Ai Weiwei the opportunity to use the diverse environments of the gallery space, conservatories and grounds. Several iconic works from across the artist’s repertoire, as well as new work specific to Meijer Gardens, will be featured. 

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Ai Weiwei. Bicycle Basket with Flowers2014. PorcelainPhoto courtesy of Ai Weiwei Studio

Central to the exhibition will be an exploration of Ai Weiwei’s dialogue with nature, the elements of nature, and natural elements as a means to convey the artist’s ideas to a broad and diverse audience,” states Joseph Antenucci Becherer, chief curator and vice president. 

This exhibition is organized by Frederik Meijer Gardens & Sculpture Park with the artist and Lisson Gallery.

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Ai Weiwei. Blossom (detail), 2014. PorcelainPhoto courtesy of Ai Weiwei Studio

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Ai Weiwei. Illumination, 2009. Color photograph. Photo courtesy of Ai Weiwei Studio.

Hammer Museum presents nearly 100 works on paper from Jean Dubuffet's most innovative years

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Jean Dubuffet, Personnage au chapeau, seins bas superposes (Figure with a Hat, Superimposed Low Breasts),  January 1952. Gouache and india ink. 14 ½× 11 in. (36.8 × 27.9 cm). The Pierre and Tana Matisse Foundation. Photography by Christopher Burke Studio. © 2016 Artists Rights Society (ARS), New York / ADAGP, Paris.

LOS ANGELES, CA.- This January, the Hammer Museum presents the West Coast debut of Dubuffet Drawings, 1935–1962, the first in-depth museum exhibition of works on paper by French artist Jean Dubuffet (1901–1985). Rejecting conventional notions of beauty and good taste, Dubuffet asserted that invention and creativity could only be found outside traditional cultural channels. Inspired by children’s drawings, graffiti, and the art of psychiatric patients, he emulated the immediacy of the untrained and untutored. He often turned to drawing, a medium in which he could indulge his passion for research and experimentation. 

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Jean Dubuffet, Corps de dame (Lady's Body),  June–December 1950. Pen and india ink. 10¾× 8 3/8 in. (27.3 × 25.1 cm). The Joan and Lester Avnet Collection, Digital Image© The Museum of Modern Art/Licensed by SCALA / Art Resource, NY.

Dubuffet Drawings, 1935-1962 includes almost one hundred drawings from Dubuffet’s most innovative decades and features rarely seen works borrowed from private and public collections in France and the United States. His favorite subjects were mundane activities of everyday life—taking the subway, bicycling in the countryside—but he also tackled traditional genres like the portrait, the female nude, and the landscape, all the better to subvert expectations with his outrageous depictions. Insatiably curious, Dubuffet explored unorthodox materials and techniques, instilling into his drawings a sense of adventure that has kept them vibrant and relevant to this day. Organized by The Morgan Library & Museum in New York, the exhibition and catalogue were extensively researched by curator Isabelle Dervaux and her colleagues. The Hammer presentation is organized by chief curator Connie Butler, who also contributed an essay to the catalogue. 

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Jean Dubuffet, La fermière (The Farmer’s Wife),  March 1955. Assemblage of imprints: collage of cut india-ink imprints with brush and ink, mounted on paperboard. 20½× 25¼ in. (52 × 64 cm). The Pierre and Tana Matisse Foundation. Photography by Christopher Burke Studio. © 2016 Artists Rights Society (ARS), New York / ADAGP, Paris.

“Dubuffet’s innovation and insatiable curiosity will delight the L.A. audience in this exhibition organized by The Morgan Library & Museum,” said Ann Philbin, director of the Hammer Museum. “This exhibition brings back into focus an artist whose experimental work influenced generations of artists." 

A fully-illustrated catalogue accompanies Dubuffet Drawings, 1935-1962, by Isabelle Dervaux (Acquavella Curator of Modern and Contemporary Drawings, The Morgan Library & Museum), Margaret Holben Ellis (Director of the Thaw Conservation Center, The Morgan Library & Museum), Lindsey Tyne (Assistant Paper Conservator, The Morgan Library & Museum), Alex Potts (Max Loehr Collegiate Professor, Department of History of Art, University of Michigan), and Connie Butler (Chief Curator, The Hammer Museum). Co-published by The Morgan Library & Museum and Thomas & Hudson, the hardcover book is 224 pages with 150 illustrations. This catalogue is the first major publication devoted to works on paper by Dubuffet, one of the most important French artists of the 20th century

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Jean Dubuffet, Quatre personnages (Four Figures),  July 1946. Gouache, with incising, on coarse sandpaper. 12 1/8 × 9½ in. (30.8 × 24.1 cm). Richard and Mary L. Gray and the Gray Collection Trust. Photography by Tom Van Eynde. © 2016 Artists Rights Society (ARS), New York /ADAGP, Paris.

 

A bronze circular 'TLV' mirror with inscription, Xin-Early Eastern Han dynasty, 1st century

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A bronze circular 'TLV' mirror with inscription, Xin-Early Eastern Han dynasty, 1st century

Lot 1418. A bronze circular 'TLV' mirror with inscription, Xin-Early Eastern Han dynasty, 1st century. Estimate USD 4,000 - USD 6,000Price realised USD 3,250. © Christie's Images Ltd 2012.

The knob centering a quatrefoil within a square band of twelve nipples alternating with the characters of the Twelve Branches, surrounded by 'TLV' motifs and eight nipples as well as the Guardians of the Four Directions, the Blue Dragon, Red Bird, White Tiger and the Dark Warrior, which are further encircled by an inscription and a hatchured band below sawtooth and zigzag bands on the rim, with dark grey patina and areas of mottled, milky green patina - 6 7/8 in. (17.5 cm.) diam., 3/16 in. (.4 cm.) thick, box - 430.9g

ProvenanceRobert H. Ellsworth Collection, New York, acquired in Hong Kong, 1989. 

NotesThe rubbing of a similar mirror is illustrated in Kaogu, 1980:4, p. 957, no. 2, and another excavated from a mid Eastern Han tomb is also illlustrated as a rubbing in Kaogu 1986:10, p. 342, fig. 5. Compare, also, the mirror of this type with different decoration in the square band, but otherwise very similar decoration, including that on the rim, illustrated by Shilun Wang in Zhejiang chutu tongjing (Bronze Mirrors Excavated in Zhejiang), Beijing, 1987, no. 19. 

Christie's. Luminous Perfection: Fine Chinese Mirrors from the Robert H. Ellsworth Collection, 22 March 2012, New York, Rockefeller Center

A bronze circular mirror with deities, animals and inscription, Late Eastern Han dynasty, 2nd-3rd century

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A bronze circular mirror with deities, animals and inscription, Late Eastern Han dynasty, 2nd-3rd century 

Lot 1419. A bronze circular mirror with deities, animals and inscription, Late Eastern Han dynasty, 2nd-3rd century. Estimate USD 4,000 - USD 6,000Price realised USD 3,750. © Christie's Images Ltd 2012.

Thinly cast, the knob within a bead band and a main field cast in thread relief with deities, one shown riding a dragon, one shown riding a tiger, and four seated figures shown in two groups, all separated by nipples and encircled by an inscription and hatchured, sawtooth and C-scroll bands - 5½ in. (14 cm.) diam., 3/16 in. (.5 cm.) thick, box - 295.3g 

Provenance: Robert H. Ellsworth Collection, New York, acquired in Hong Kong, 1988. 

NotesCompare the similar mirror of larger size (21.2 cm.) illustrated in Ancient Bronze Mirrors from the Shanghai Museum, Shanghai, 2005, pp. 172-3, no. 49, in which the inscription includes the name of the family, Long, that made it. The entry also mentions that more than ten mirrors from the Long clan have been handed down from ancient times, most of them excavated at Shaoxing, Zhejiang province. Another mirror of this type with similar outer band on the rim, in the Sumitomo Museum, is illustrated in the exhibition catalogue, Chinese Bronze Mirrors, Sen-Oku Hakuko Kan, Kyoto, 8 January - 6 March 2011, p. 38, no. 60

Christie's. Luminous Perfection: Fine Chinese Mirrors from the Robert H. Ellsworth Collection, 22 March 2012, New York, Rockefeller Center


A bronze circular mirror with animals, Western Han dynasty (206 BC-AD 8)

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A bronze circular mirror with animals, Western Han dynasty (206 BC-AD 8)   

Lot 1420. A bronze circular mirror with animals, Western Han dynasty (206 BC-AD 8). Estimate USD 6,000 - USD 8,000Price realised USD 5,000. © Christie's Images Ltd 2012.

Crisply cast, the knob rising from a quatrefoil with crescents between, within a plain band and a band cast in thread relief with two dragons, one with a wang character, alternating with two tigers, all racing between four nipples between hatchured borders below a plain rim - 5½ in. (14 cm.) diam., ¼ in. (.5 cm.) thick, box - 540.2g  

Provenance: Robert H. Ellsworth Collection, New York, acquired in Hong Kong, 1992. 

NotesA similar mirror of comparable size is illustrated by Ju-hsi Chou in Circles of Reflection: The Carter Collection of Chinese Bronze Mirrors, The Cleveland Museum of Art, 1990, p. 40, no. 21. Another similar mirror excavated from a later tomb of Southern Dynasties date (420-589) is illustrated in "Guangxi: Rongan Anning Nanchao Tomb Excavation Report," Kaogu 1984:7, p. 631, fig. 5

Christie's. Luminous Perfection: Fine Chinese Mirrors from the Robert H. Ellsworth Collection, 22 March 2012, New York, Rockefeller Center

Perforated Disk (Bi) with Unfinished Relief Spirals, China, Late Eastern Zhou dynasty, Warring States period

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Perforated Disk (Bi) with Unfinished Relief Spirals, China, Late Eastern Zhou dynasty, Warring States period, or early Western Han dynasty, about 481-100 B.C. Abraded jade. Diameter: 6 in. (15.24 cm). Los Angeles County Museum of Art, Gift of Carl Holmes (M.70.76.5). Photo © Museum Associates/LACMA

Perforated Disk (Bi) with Relief Spirals, China, Late Eastern Zhou dynasty, Warring States period, 481-221 B.C.

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Perforated Disk (Bi) with Relief Spirals, China, Late Eastern Zhou dynasty, Warring States period, 481-221 B.C. Abraded jade. Diameter: 4 1/2 in. (11.4 cm). Los Angeles County Museum of Art, Gift of Carl Holmes (M.70.76.6). Photo © Museum Associates/LACMA

Perforated Disk (Bi), China, probably Henan Province, Erlitou, Late Neolithic period or early Bronze Age, Erlitou culture

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Perforated Disk (Bi), China, probably Henan Province, Erlitou, Late Neolithic period or early Bronze Age, Erlitou culture, about 2000-1700 B.C. Abraded jade. Diameter: 5 3/8 in. (13.65 cm). Los Angeles County Museum of Art, Gift of the Marcia Israel Collection (M.89.156.2). Photo © Museum Associates/LACMA

Gerhard Richter, Abstraktes Bild, 2005

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Gerhard Richter, Abstraktes Bild, 2005. Huile sur Alu Dibon, 27.5 x 33.9 cm. Catalogue Raisonné: 893-3; Collection Albertina, Vienne, Autriche (prêt permanent). © 2017 Gerhard Richter 
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